Japanese Box Art vs. International Box Art

god I love Pizzas

アリソン・フレンド （Alison Friend、1973-） 『ピザ愛好家』 （Pizza Lover）

Friend stopped by to meet our house celebrity

Mario (from Super Mario 64) : "🎶Thank you for playing my game ☺️" Me (fully gown adult) :

Game credits acknowledging/thanking player has to be Top 5 Best Things Of All Time

"2027 está a solo 3 meses" yo que perdí la noción del tiempo desde 2020

Yes, this was me singing!

A dream dinner with legends Katsura Hashino and Fumito Ueda

Trying an obscure Dreamcast game "Rent-A-Hero". From a Macrosoft employee working on Binbows, to this.

Eric Chahi and Fredrick Raynal inspired Japanese and western game devs today, it's MINDBLOWING. Both's works were the genesis of cinematic storytelling in gaming.

Met with 2 legends, @EricChahi and @Ludoid_Raynal at The Tenth Mosaic event in Tokyo @SailToArchipel #TheTenthMosaic

２３年前に描いた壁砕きアニメ。そもそも見れなくなってたっぽいので再掲

Vijay Iyer on why John Coltrane relentlessly practiced for hours and hours every day.

We live in a timeline where Kojima can direct Halo

袋田の滝の水量がバカ！今すぐ行け！！

RT @muzikchest: CAPSULE • Hello x iida [2010]

HOLY SHIT, my sides 🤣🤣🤣

MUST BUY

Wow, this is from over 30 years ago… Where did you find it? You can see the clock from Japanese TV in the top-left corner, so this must have been recorded when it appeared on some television program. By the way, this wasn’t a normal drawing. Back then I’d gotten bored with conventional art materials, and I became obsessed with making artwork using what we call “cutting sheets” in Japan—basically the kind of single-color adhesive vinyl you might think of as Cricut vinyl overseas. I would cut each piece by hand with a design knife, layer the pieces on top of one another, and separate the colors that way, almost like making an animation cel. I used that technique for all kinds of character art and concept art. And it wasn’t just the characters. Every letter and logo on this piece was also cut out freehand with a design knife and assembled by hand. I used to say, “Not using a ruler gives it more character.” In retrospect, I probably should have used a ruler. One thing I liked about the technique was that the material was very resistant to UV and didn’t really deteriorate even after several years. The downside was that finishing a single piece took an incredible amount of time. Areas with lots of tonal variation—especially things like gradients in the hair—were absolute hell to make. And the board itself was huge. It was B0 size: 1030 × 1456 mm, or about 40.5 × 57.3 inches. So you needed a pretty large workspace just to make one. After it was finished, it was displayed at an arcade during a location test—basically one of those pre-release, guerrilla-style tests where we would put the game into an arcade and see how much revenue it generated. I later heard that, in the end, a Japanese fan who desperately wanted the piece was allowed to take it home.